Yellow Selection:
These are my yellow selection photos. In my second set of photos, I wanted to put a variation on my theme of procrastination and create some contrast between the two shoots, instead of shooting the exact same type of photo twice. Therefore, this set with the adult model is more focused on breaking out of the cycle of procrastination, compared to the set with the teenage model being about the cycle itself, and the process of sinking into it. I chose to present it this way instead of the other way around, because I imagine that when you’re a teenager, your emotions are going to be more intense and overwhelming (which is good for the first set and especially for the Frustration stage), while after you become an adult, you’re more mature and have more experiences with these situations, and would be more easily able to force yourself to take a step in the right direction. The teenager is lost in the dark, while the adult is stepping out of it – and with hope, one day the teenager can find their way to the light too. It is very important, however, to remember that the light and shadow in this piece do not symbolize good and evil. It is not beneficial to hide in the shadows, yes, but it is also an understandable (if not ultimately self-destructive) reaction to a light that harsh. Similarly, while it is a positive thing to face the light and walk towards it instead of running away, not all of your problems will just miraculously vanish the moment you do that. There is still a long and difficult road ahead, and it will require a lot of effort and perseverance to completely resolve the problem. Overall, I find that the idea of this issue to be more nuanced than simply “light good dark bad”, as there are many, many factors and reasons why somebody might sink into the cycle of procrastination, and I want to try and portray this theme (and the emotions that come with this theme) in an accurate and respectful manner.
Green Selection:
These are my green selection photos, and I chose them because they have a higher level of clarity in both composition and lighting. One particular photo that I find compelling are the one where the model is holding onto the shadow hand while staring at it resolutely as if saying, “You can’t control me anymore.” It feels like an act of rebellion against the invisible forces that have held them down for so long, and it feels kind of triumphant despite the dark and dim lighting – or maybe because of it. Like the first photo in my red selection, the model is facing the light in many of these photos, both with the mask on and off. There is also a particular sequence of motion in some of these photos, with the model contemplating the mask that they just took off and examining it thoughtfully. This idea of self-reflection is important to my theme, as you cannot completely address a problem until you find its root. If you never let yourself acknowledge that there is a problem in the first place, especially if it is a problem with yourself and your actions, then you’ll never be able to break free and rise above it either.
Red Selection:
Breaking Away
These are my three red selection photographs – contrary to my red selection from my first set of photos, which shows the process of falling into the cycle of procrastination, I wanted these photos to show the process of climbing out of it.
Turning Point
This first image starts at a similar place as the end of my last red selection – dim red lighting, with the model wearing the mask and the shadow arms creeping around. However, this time, the model is facing towards the light, which represents all the things that we are trying to avoid doing when we procrastinate. They are hesitant, and are still shrouded in shadow, but it may be time to stop hiding and face your fears. In this photo, the model’s face (or mask) is the most illuminated by the light, while the rest of them and their body is in shadow. This shows that in order to solve your problems, you have to face them and acknowledge them first, no matter how much you want to avoid it. Another element that is highlighted is the puppet strings, dangling straight down instead of being crossed and messy like the first set. I did this throughout both this photo and many of the other photos in this shoot, to symbolize that the person is starting to regain some control over their actions. This image is meant to convey the feeling of a moment of tentative decision, when you drift out of your mental fog and properly take notice of your surroundings for the first time in a concerningly long amount of time. You’re frustrated with yourself, yes, that you let so much time slip by, but you know that you have to do something or else it really will run out. You want to sink back into the shadows – just five more minutes – because it’s so much easier than facing the thing you’ve been trying to subconsciously escape from the whole time. But you don’t. You don’t want to, but you steel yourself and prepare to finally take off the mask that’s been blocking your view.
Unmasking
In this image, the mask finally comes off, revealing a tired determination. Since the mask is now off, the audience can see the face of the model, and this new element of human connection helps add a new layer of emotion to the photo. I think that it’s fitting that the first time the audience sees the model’s face in both this set and my previous set of photos is when the mask finally comes off, as speaking from my experiences with procrastination, this is when you start to feel clarity again. You snap yourself out of your stupor, and face your problems with tired but resolute determination. You know that the next few hours won’t be easy or fun as you struggle to finish your work in time, but you’re determined to see this through. These images have a strong focus on light and shadow, and one thing that helps enhance this image is the small pinprick of light in the singular visible eye of the model. It could be symbolic of the metaphorical fire relighting itself in the character, and it shows that they have acknowledged their problems and is now ready to start solving them. The puppet strings are still present in this photo, but they have now spiraled their way around the shadow arms instead of the model’s arms, conveying that the shadows aren’t in control anymore.
Returning
This final shot is meant to be an ambiguous, but hopeful ending to the story – the road ahead is long and difficult, but we’re determined to face it despite these hardships. In this photo, only the silhouette of the model can be seen as they walk resolutely towards the light, despite its blinding brightness. The drooping form of one of the shadow arms can be seen hanging limply off the model’s shoulder – Rome wasn’t built over a day, and it too would take longer than one night for the shadows to go away. There would likely be times when the dark would feel welcoming, times when you’re tempted to let yourself rest for just a little while where it’s easy to hide from the harsh light. But the longer you stay in the dark, the brighter the light will be when you finally return.
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